Naderpour
published a large number of scholarly papers on Iran’s politics, culture,
history, and literature in publications such as Iranshenasi,
Mehregan, and Rahavard. He
published many poems in various Iranian publications; in addition, he published
ten volumes of his collected poems:

Eyes
and Hands(Chashmha
va Dastha), 1954 (1333)

Daughter
of the Cup (Dokhtare Jame), 1955
(1334)

The
Grape Poem(Share
Angour), 1958 (1337)

Collyrium
of the Sun (Sormahe Khorshid),
1960 (1339)

Not
Plant and Stone, But Fire (Giyah va Sang na, Atash),
1978 (1357)

From
the Sublime to the Ridiculous (Az Aseman ta Risman),
1978 (1357)

The
Last Supper (Shāme Bāz
Pasin), 1978 (1357)

False
Dawn(Sobhe
Doroughin), 1982 (1361)

Blood
and Ashes (Khon va Khakestar),
1989 (1368)

Earth
and Time (Zamin va Zaman), 1996
(1375)

Each of Naderpour’s collections
includes an extensive essay in the form of an introduction or a preface that by
itself is a valuable article addressing many key issues, for example, issues
concerning modern Persian poetry, the responsibility of an artist, the
historical background he used for his arguments, Iranian nationalism, and the
concept of exile.

Naderpour's works have been translated into
many languages:

§
His works have been translated into many languages:

§Alan
Lance and Shahrashoube Amir Shahi have translated his works into French (called Iran,
Poesie et Autres Rubriques).

Professor
Gilbert Lazard has translated his work into French.

Jina
Labrio Lakarozo has translated some of Naderpour’s works into Italian.

Michael
Craig Hillmann of the University of Texas has translated Sobhe
Doroughin (False Dawn).

Naderpour’s works
have also been translated into Russian, German, and other languages, and
Naderpour in turn translated many famous Italian and French poems into Persian.
While he was in Iran, with the help of Bijan Oshidi he published a collection of
his translations of Italian poems (Seven
Great Contemporary Italian Poets).

The Islamic
Republic of Iran banned the publication of all Naderpour’s work in Iran, and
distribution of his work in Iran is illegal.

The
Hellman-Hammet prize (awarded to writers in exile whose works are banned in
their own homelands) was bestowed upon NaderNaderpour
by the Human Rights Watch Organization in 1993 (1371).

In the
introduction to his tenth collection, Earth and Time, he wrote:

… Without a doubt
the important thing is that the form of a poem should be capable of conveying
the poet’s expressions to readers in his language, and more importantly that
the content and the images of the poem remain in his or her countrymen’s
memories, and be their sincere friend. …

Can I hope
that, if not all, maybe some of my poems in exile will have these
characteristics?